Kichul Kim denies a typical notion of hearing the sound, and suggests a sound for seeing, which he calls ‘Sound Sculpture’ by molding the stereoscopic nature of sound into a three dimensional presence. The initial works were made in minimal and simplified forms in terms of the installation method and figuration; the pure form meets pure sound without reproduction or modification. For instance, subtle figures combined with sounds of nature or an indistinct note of a bell to reflect waters of the rain, ocean, valley and forest would touch the imagination of the audience. The artist creates a situation for audiences to have synesthetic experiences of both imagining and seeing through unlimited sound filling in the void rather than utterly phrasing a story behind. In his recent works <Sound Drawing> and <Rapport>, Kim invites the audience to make an active interaction of drawing, making sounds and watching movements made by the resonance of their voices.
Inspired by the Buddhist concept of emptiness, the artist created a minimalist sound collage that mirrors falling rain with speakers and monofilament. The installation toys with viewers’ ability to be present in the moment, accepting the artificiality before them.